As I wandered the displays and demonstrations at the 2010 CEDIA Expo last September, I found few multichannel products worth writing about. Sure, there were many interesting new speakers from Pioneer, GoldenEar, Atlantic Technology, Adam Audio, MartinLogan, and others, but really, you could just use two for stereo. I saw the requisite number of new multichannel players, processors, and receivers, but most boasted no more than some new features that made them easier to use (iPad apps were rife) and/or gave them access to new sources (audio and video streaming were obligatory).

Thelonious Monk: The Life and Times of an American Original
By Robin D.G. Kelley (New York: Free Press, 2009): 588 pages; hardcover, $30; paperback, $18.

Bebop was new and controversial when, in September 1947, writer-photographer Bill Gottlieb profiled an obscure jazz pianist for Down Beat magazine. The story, which appeared just before Thelonious Sphere Monk (1917–1982) turned 30, called him an "elusive" figure "few have ever seen."

Then Lorraine Lion, the wife of Blue Note Records' Alfred Lion, began to tout Monk's first releases on the label. Her hyperbolic prose portrayed him as a man "surrounded by an aura of mystery . . . a strange person whose pianistics continue to baffle all who hear him." Ms. Lion anointed Monk the "High Priest of Bebop."

It is often said that anyone with a recorder and a couple of microphones can record an orchestra. It's true, assuming you can get permission to do it (another story entirely). But that statement fails to address an important question: "How well?"

The rudiments of any skill can be learned from books. Practice can develop a fair level of competence. Beyond competence, however, the student is governed by his genes and/or family environment, depending on which theory of human potential you subscribe to. Whatever the reason, some practitioners of both disciplines never seem able to transcend mere competence, while others go on to become legends in their own times. John Eargle, chief recording engineer for Delos Records and producer of this fascinating recording, may or may not qualify as a legend, but he is obviously 'way past "a fair level of competence."

Register to win one of eight pairs of Phiaton PS 500 Primal Series Headphones (MSRP $299) Stereophile is giving away.

According to Phiaton, The PS 500 Primal Series Headphones offer listeners "a soaring level of concert-hall sound quality, unmatched performance, and a high level of comfort. Phiaton Primal Series headphones are designed for those who appreciate the classic yet somewhat exotic look and feel of supple leather and leather-grade trim."

[This sweepstakes is now closed.]

John Vanderslice’s seventh studio album, White Wilderness, marked by the enchanting, fluid maneuvers of the Magik*Magik Orchestra, was released last Tuesday. The entire album&#151nine twisting, coiling songs, spanning 31 minutes&#151was recorded in just three days, but sounds as purposeful and carefully conceived as a special gift.

Meanwhile, Vanderslice has another gift up his sleeve:

Yes We Can is the most jolting, swinging, all-round best album by the World Saxophone Quartet in nearly 20 years.

WSQ, which was formed in 1977, still has at its core two of the founding members, David Murray on tenor sax and Hamiett Bluiett on baritone. The alto parts, which have shifted over the decades, are taken up here by Kidd Jordan and James Carter (the latter also on soprano at times). They’re all playing at peak power.

In its original guise, with Julius Hemphill and Oliver Lake on altos, WSQ was the signature jazz band of the 1980s, the spearhead of a spontaneous “neo-classical” movement (as critic Gary Giddins dubbed it), which combined the avant-garde’s passionate expressionism with the wit, grace and beauty of myriad traditional forms.

Much of this movement was captured on the Italian Black Saint label, as were the quartet’s seminal albums (especially Revue, W.S.Q., and Live at Brooklyn Academy of Music), though their most voluptuous work, the 1986 Plays Ellington, appeared on Nonesuch.

Hemphill, a master of stretched harmony, was the band’s driving force, and his departure. . .

The February 2011 issue of Stereophile is now on newsstands. You want it, you need it, you love it. A quick look at what’s inside:

Canadian pianist Robert Silverman, whose artistry has made him an audiophile legend, is set to continue his complete Beethoven Sonata Cycle Series in San Jose, CA. The four remaining concerts are scheduled for February 3 and 10 and April 7 and 14 in the excellent acoustic of San Jose's Le Petit Trianon Theatre. All proceeds from the performances will benefit the Lucile Packard Children's Hospital at Stanford.

Producer of the series, Michael Silver of Audio High in Mountain View, CA, has retained Marc Wilsher to make high-resolution digital recordings of the entire series. Judging from an unedited hi-res master of the first movement of Beethoven's "Waldstein" sonata, the clarity and truthfulness of Silverman's sound in Le Petit Trianon are first-class.

The recordings could be as revelatory as the recordings that John Atkinson and Ray Kimber have and continued to make of Silverman performing other repertoire. Stereophile will release a new recording of Brahms' Handel Variations and Schumann's Symphonic Études later this year, and IsoMike has recently released a 7-CD set of Silverman performing all the Mozart piano sonatas. (JA's photo shows Robert performing a Mozart sonata at the 2010 Rocky Mountain Audio Fest.)